After reviving the Marvel Zombies franchise with its third iteration, starring Jocasta and (the superb) Machine Man, and just months after its finale, dynamic duo Fred Van Lente and Kev Walker have brought the first issue of the fourth installment of Marvel Zombies. I am glad to say it continues their good run of form. Marvel Zombies 4 is a lot of fun.

The idea of a supernatural super-team is nothing new, but in this context, having ‘The Midnight Sons’ chasing down the undead works perfectly as a concept, even though this first issue is really just re-establishing characters such as Morbius and Jack Russel (aka Werewolf by Night). There is plenty of humour streaked throughout these pages, whether it be Jennifer Kale poking fun at the Son Of Satan (aka Daemon Hellstrom) and his demonic laugh, or the fun to be had with a zombie Deadpool who is now nothing more than a head. Yes, a zombie Deadpool who is nothing more than a head. The beauty of this is, that teamed up with Zombie Simon Garth, Deadpool steals all the scenes he is, with some absurd situations working brilliantly thanks to the humour in Van Lentes writing and Kev Walkers great and gory art. There are even some undead in there, but not what you would expect at all. There is some darkness and a lot of blood and violence, with Morbius especially full of rage after his experiences in Marvel Zombies 3 (but this rage is what is propelling MZ4), but it is tempered by the lighter moments when Deadpool brings some excellent comic relief.

A great start – I think this is going to be one of Marvels strongest titles during its short run. Who would bet against there being a Marvel Zombies 5?

The balance of intrique and action is well maintained in another absorbing installment of Johsua Dyart’s African based adventure. We learn more about Moses’ past, some of which we only glimpse at, but what we see gives clues as to his mindset, and his ability to unleash ferocious but calculated violence and killing. He also encounters Agent Howl, and we go back to the early 1960s and see Howl as a young CIA operative in the thick of Western machinations in African politics.

There is a broad scope but Dysart stages all these elements in such a way that he manages to maintain an exciting and thoroughly readable issue, with a thrilling final few pages as the forces of the LRA close in on their target. Their target, however, is aware of their presence and is already fighting back….

If you have not read this title yet, I am sure that back issues can be found on ebay etc. Either that or wait for the trade paperback, but I urge you to invest some time in this fascinating and exciting title.

Warning – if you read the trades and are not up to date with The Walking Dead (ie up to #48), then it is probably an idea to stop reading this post now.

We are pitched straight in after the events of issue #48, and you really get a sense of desolation, of the aftermath of a war. The pace is slower, but The Walking Dead never ceases to be anything less than engaging.

As we return to the scene of the massacre, a familiar face surveys the battleground, clearing up one plot thread while taking care of some business, as old friends threaten to reanimate. Meanwhile Rick & Carl are trying to come to terms with the horror of their loss, while having to cope with the new hostile environment they are in. They are out in the open, vulnerable physically as well as mentally, having to look for food and shelter, dealing with undead ‘roamers’. Rick in particular is ailing now, still sick from the gunshot wound, and his injuries and disabilities are beginning to count against him. The father as protector is not a certainty in this scenario. Carl needs to be able to handle deadly situationa, and does. Despite these moments of grim survival, Kirkman does manage to extract humour from the routine of scavenging. Carl, despite his experiences, shows a child’s petulance when faced with ‘crappy cereal’ as they go through the remains of a convenience store.

Apart from the initial pages of this issue, the focus is solely on Rick & Carl. The last few pages are about detailing the new minutiae of their existence, and not a lot happens, but the small touches, such as Carl’s all too obvious grief, are touching and are made so by Adlards sterling artwork.

The final scenes are low key compared to recent issues, but no less devastating a cliffhanger awaits. Maybe Kirkman is not going to back away from killing off more major characters. No-one is still safe, even though that arc ended. You know he can and will do it.

There are never enough pages in these damn issues.

Next up, the big 50, with the tagline, ‘All Alone Now’………you get the feeling that Kirkman is about to heap more misery on whats left of the Grimes family.

It is a quieter issue than the last 2 or 3, and more understated, but Kirkman is tantalising us with possibilities while delivering another almighty cliffhanger. That poor child………

I am still reeling from reading the most amazing piece of comic literature. The Walking Dead #48 has managed to do what hardly any other comic series has managed – kill off most of the major characters over a few issues.

The fall-out has begun, and reaction to this bold move is, as you would expect, varied. There is a lively, intelligent disceussion over at the Newsarama board for The Walking Dead – I am linking to the page where the discussion turns to the latest issue;

I am still in shock after reading it, and full of admiration for the writer, Robert Kirkman, and the artist, Charlie Adlard. They have delivered a work of tragedy that leaves you emotionally drained. I do not believe, with all the hype surrounding ‘No-one is safe’, that they could have delivered anything other than a big body-count. They have done that, but it is the way that it has been handled that is testament to the creative teams skill.

A couple of hours ago I read the most intense, brilliant, moving comic book I have ever experienced. The Walking Dead #48 not only manages to meet your expectations, it exceeds them, and takes this superb series on a whole new trajectory. Words cannot really begin to do justice to its brilliance, but I had a go;